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    Dazzling New York Beauty Sampler: Paper Piece a Show-Stopping Quilt; 54 Blocks
    Dazzling New York Beauty Sampler: Paper Piece a Show-Stopping Quilt; 54 Blocks
    Dazzling New York Beauty Sampler: Paper Piece a Show-Stopping Quilt; 54 Blocks
    Ebook251 pages1 hour

    Dazzling New York Beauty Sampler: Paper Piece a Show-Stopping Quilt; 54 Blocks

    By Cinzia White

    ()

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    About this ebook

    With its radiant beams and calculated curves, the New York Beauty quilt has always been a showstopper. Now you can make your own jaw-dropping Australian wedding quilt with Cinzia White, the esteemed designer behind The Storyteller’s Sampler Quilt. This queen-size bed quilt boasts 54 gorgeous New York Beauty blocks named for and inspired by Australian wildlife. Don’t be afraid to begin your foundation paper piece journey, as the author’s clear instructions will guide you and help you feel truly accomplished.

    LanguageEnglish
    PublisherC&T Publishing, Inc.
    Release dateJan 25, 2021
    ISBN9781617459795
    Dazzling New York Beauty Sampler: Paper Piece a Show-Stopping Quilt; 54 Blocks

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      Book preview

      Dazzling New York Beauty Sampler - Cinzia White

      production.

      General Information

      Finished quilt: 96˝ × 106˝ • Finished block: 10˝

      The Wedding Quilt by Cinzia White

      The Wedding Quilt

      Block layout

      This quilt was made to celebrate the wedding of our son Paul-James to the delightful Khanam. Our other son, Richard, thought it should be called The Anniversary Quilt to acknowledge the fact that it wouldn’t be (and wasn’t) finished in time—a common occurrence when I become lost in the fun of a quilt.

      Tip: Seam Allowances

        A ¼˝ seam allowance is used within each arc and when joining arcs.

        A ½˝ seam allowance is used when cutting fabric for the pieced arcs and also on all edge pieces of the blocks. A seam allowance has been included in fabric quantities.

      About Fabrics

      New York Beauty is a traditional block that will work with any combination of colors and prints, as may be seen from The Wedding Quilt. The important thing is to have a distinct difference between the points and the surround­ing section.

      Choose 100% cotton as it handles well and is easy to finger-press.

      To minimize color run, prewash and press the fabric.

      Requirements are based on 40˝-wide fabric. The required seam allowance used throughout is included in the cutting measurements.

      A large variety of fabric was used in The Wedding Quilt, which makes it difficult to provide exact quantities, as many may be cut from scraps and from one piece of fabric.

      Fabric for the individual blocks is presented with instructions for each block. All fabric quantities include enough fabric for one extra wedge of each fabric in every pieced arc.

      FABRIC FOR THE BLOCKS

      Fabric quantities are approximate only.

      •15 fat quarters of assorted blue prints and batiks

      •15 fat quarters of assorted green prints and batiks

      •10 fat quarters of assorted red / orange / pink prints and batiks

      •6 fat quarters of assorted yellow/orange prints and batiks

      •6 fat quarters of assorted white / cream / beige / yellow prints and batiks

      •5 fat quarters of assorted black prints with colored elements

      •5 fat quarters of assorted aqua/teal prints and batiks

      •3 fat quarters of assorted purple prints and batiks

      •1 fat quarter each of yellow/orange stripe and black/gray stripe

      Supplies and Tools

      •Foundation paper (such as Carol Doak’s Foundation Paper by C&T Publishing) or lightweight woven Vilene

      •Clear adhesive tape (such as Scotch Removable Magic Tape) for joining foundation papers together

      •Freezer paper (such as Quilter’s Freezer Paper Sheets by C&T Publishing)

      •Fabric starch or starch alternative (such as Heaven Scent Spray Starch by Eppiflex Australia or Mary Ellen’s Best Press)

      •Rotary cutting tools

      •Add-A-Quarter ruler (by CM Designs)

      •Several new sewing machine needles

      •Bookmark or piece of heavy cardboard

      •Tweezers for removing paper

      •Mechanical pencil

      •Fine-tip permanent markers (such as Pigma) for fabric

      •Fabric scissors

      •Craft scissors

      •Resealable plastic bags

      •Iron and ironing board

      •Basic sewing supplies

      Tip: Thread Color

        When joining light fabric to light fabric, use a light-colored thread.

        Similarly with dark fabric to dark fabric, use a dark thread.

        However, when one seam joins both light to light and dark to dark, use a light-colored thread. Afterward, use a matching pen to color the thread, if it is showing, between the dark sections.

      Tip: Working with Directional Prints

      When a directional fabric, particularly a stripe, is used in two neighboring units, it is often preferable for the print to align throughout. To achieve this, fold each fabric wedge template in half and mark the fold line; align the center fold line either with the design or at right angles to the direction of the design, depending on the print; and then mark and cut fabric.

      Finding wedge center

      Aligned directional print

      Not aligned directional print

      Preparing Templates

      Prepare templates from the patterns as described below.

      FREEZER-PAPER TEMPLATES

      All patterns are the finished size.

      Freezer-paper templates are recommended since, once ironed to the fabric, they prevent slipping for the curved edges, and they may be reused.

      Patterns do not need to be reversed.

      1. Using a ruler and mechanical pencil, trace Patterns A–P (pullout) onto the dull side of freezer paper.

      2. Label each template and carefully cut along the lines.

      3. Fold the template into quarters and mark matching points. For the larger templates, fold into eighths and mark matching points.

      4. With a dry iron, press the template pieces to the wrong side of the fabric, leaving ½˝ between pieces for the seam allowance.

      5. If possible, cut the straight sides of all plain sections parallel to the fabric edges to minimize distortion. Alternately,

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